overhang watercolour

‘Overhanging Rockface in the Dordogne’
2001 – 2008
Watercolour & Ink.
30 x 40cm (15 x 11 inches).
© The Artist.


pen & ink of ooverhanging rock

SKETCH : ‘Overhanging Rockface in the Dordogne’
pen & ink
doublespread A5 sketchbook
© The Artist.


a prehistoric shelter…

Crazy cliff faces that I wrote about in ‘how-to-draw-rocks’ & elsewhere… click on the rock category to see them all. The above watercolour portrays a prehistoric shelter. These ancient places for me feel charged with … our beginnings as a species. What was once there & what might be there one day.Note the bluish greenish tint. There’s a type mold that forms on the never-sunny parts. Copper sulphate? You can watch the cliffs light up in the sunlight & grow blue in the shade. I’m assured it’s not purely optical but chemical too… Always walk on the sunny side of the street!I had an interesting conversation with a rock climber yesterday. Funny how one can talk for along time about geology & rock faces. I suppose most people don’t spend alot of time looking closely at things that don’t interest them. Hence they won’t recognise them when they are portrayed in painting. Rocks & cliffs interest me, which is great as the Dordogne & the Lot has some fantastic limestone & limonite geology.

John Ruskin

John Ruskin (1819–1900) was another artist who was mad about rocks. He was a lake-lander (the Lake District in the UK. I used to walk & watercolour there whilst at Newcastle University :-). He also an in-depth student of geology & amassed a comprehensive collection of rocks & minerals.

If only the Geologists would let me alone, I could do very well, but those dreadful Hammers! I hear the clink of them at the end of every cadence of Bible verses and on the other side, these unhappy, blinking Puseyisms; men trying to do right and losing their very humanity – Ruskin

He paid very great attention to detail, lovingly, as if each ripple & blow hole was significative of ‘The Hand of God’. So much so that he was criticised by an Parisienne asethete for ‘having the eyes of a bird’ (ie he saw only details & not wholes). But map making & exactitude, for me, is an important element of respecting ‘the spirit of the place’. Even the wildest flights of imagination are more convincingly portrayed in painting when yoked with a real & close observation of ‘the facts’.

Look at this great pen & ink from the Ashmolean, Oxford. I’ve not seen this one ‘in the flesh’ (wish that Wiki would note it’s dimensions! decontextualised internet…). A monochrome of great power. At a guess I would say at least two sittings, maybe of about tree hours each. Maybe more. One of the many things I adamire about Ruskin’s painting is that you rarely feel rushed. He would just leave the piece unfinished, incomplete rather than rush or ‘fill-in’.


John Ruskin (1819-1900)
Study of Gneiss Rock, Glenfinlas, 1853
Pen and ink and wash with Chinese ink on paper
Ashmolean Museum, Oxford, England.
Photo credit : wiki commons
It’s in this kind of vein that I painted my ‘Spirit of the Valley’.
oil painting of spirit of the valley

‘L’Esprit de la Vallée’
Oil. 1997. © adam cope

More Old Rocks in Watercolour & Ink -1999

‘Crack in the Rocks’ 1999
25 x 32cm
© The Artist.


Here we go digging out ‘the old,old past’ to fill up the blog… Not much of a fan of that…silly old blog, who cares…. Opening old portfolios can take up time & attention that may well be better spent on new work.

how to paint rocks

Finished the above last week, & will carry on with my ‘how to paint rocks’ review for the next few days, with the paintings I finished last week. Finished after a few years lapse. Some works I can’t finish immediately. Don’t know where to take them nor do I have the technical know-how to ‘knock the shoot home’. So forgetting about them for long period helps I find. When one digs them out, then I can sometimes see what needs to be done. Actually I was going to us them as scrap paper….

‘Le Vieux Pont’ 1999
25 x 32cm
© The Artist.

peinture d’une borie en Quercy Blanc

‘Landorre, Quercy Blanc’
Oil on canvas
50 x 61cm (19,7 x 24inches).
© The Artist.
800 €
borie = small stone sheperd”s hut
Quercy  = the old name for the province that lies in & around the lot dept. in sw France
Blanc = white, the area has a lot of very white limestone
A very stoney place. Drystone wall to the right, a ruined drystone barn to the left and a huge mound of stones in the middle, possibly a tumbled down collapsed old sheperd’s hut (‘borie’).

A path through the high grass. Wild scrub oak & acer, furry with lichen.

Le Grand Roc, Les Eyzies, Dordogne

‘Le Grand Roc, Les Eyzies’
Oil on Canvas
86,5 x 76 cm ; 34 x 30 inches
Tous Droits Reservés© The Artist.
email me for details about how to buy
What I enjoy about this place is it is a veritiable meeting of two different ‘styles’ of landscape (three actually if you count the busy road & huge tourist parking with it’s pollarded catalpas, info panels & telephone cabins etc. besides the Vézère river). The wild huge cliff above with it’s prehistoric setlement & the genteel nineteenth century plantation below.

The trees are spruces but I don’t know exactly what kind. Sitka spruce maybe? They are very tall, maybe up to 70 metres. I enjoyed their green very much, in the middle of winter, with all the wild bare oaks twisting about. The spruces are certainly amongst the tallest trees in the Dordogne that I know of. They grow up below the cliff, which I guess protects them for wind damage. The huge limestone rears above them vertiginiously. Reels about with the reminder that there is other time scales other the human. Vertigo. Awe. You can see the markings of both Ice Ages if you know what to look for. Incredible place. Incredible cliff face.

If you look closely at the cliff face, you will eventually find a little cabin which shelters the entrance to the ‘grotte’ (cave).

A5 sketchbook

Tous Droits Reservés© The Artist.

‘ The Valley Spirit’
56 x 76 cm – 22 x 30 inches
© The Artist.
Email me for details about buying this painting

The Mind in the Cave
by David Lewis-Williams

“ How, the, did people come to make representational images of animals and so forth out of projected mental imagery? I argue that at a given time, and for social reasons, the projected images of altered states were insufficient and people needed to ‘fix’ their visions. They reached out to their emotionally charged visions & tried to touch them, to hold them in place, perhaps on soft surfaces and with their fingers. They were not inventing images? They were merely touching what was already there.

The first two-dimensional images were thus not two-dimensional representations of three-dimensional things in the material world, as researchers have always assumed. Rather, they were ‘fixed’ mental images. In all probability the makers did not suppose that they ‘stood for’ real animals, any more than the Abelam think that their painted and carved images represent things in the material world. If we could be transported back to the very beginning of the Upper Palaeolithic so that we could compliment a painter on the ‘realism’ of his or her picture, I believe we should have been met with incredulity. ‘ But,’ the painter might have replied, ‘that is not a real bison : you can’t walk around it; and it is too small. That is a “vision”, a “spirit bison”. There is nothing “real” about it. ‘ For the makers, the paintings and engravings were visions, not representations of visions – as indeed is the case for southern African San and North American shamans (chapters 5 & 6). “

Chapter – An Origin of Image Making.
The Mind in the Cave
David Lewis-Williams
Thames & Hudson 2002

This is a brilliant & original book. A genuine master-piece. It’s obviously the product of much research & much reflection.  It is also very closely argued & pays a lot of attention to fine distinctions. It’s for this reason, that quoting a paragragh out of context doesn’t do this book justice. In fact, the habit of transposing stuff out of context is similar to what has been done with Palaeolithic cultural products as well … we see them through the twenty-first century culturally conditioned eyes.


Font de Gaume, Dordogne

‘Font de Gaume’ 2004
Ink & Watercolour.
double spread A5 sketchbook
© The Artist.
Ne jamais dire “Fontaine, je ne boirai pas de ton eau” – Périgordien Populaire
Font de Gaume is probably the most famous prehistoric painted ‘grotte’ (cave) in Les Eyzies (go abit further up the Vezérè & you arrive at Lascaux).It’s geography is very much like that of the rest of Les Eyzies, including that of Le Grand Roc. Hard limestone that has been eroded by the river to form wierd overhanging ‘lips’. The different levels of the river over the various ice ages etc has sculpted the characteristic ‘s’ type curves (very Van Gogh).

Detail :note I’m using a roller ball pen by 2004 & saving the ‘spider-webs’ of nib for the really important bits.

If you follow the ‘crack’ or the stain down you arrive at the level at which there was once an underground river, which formed an underground gallery going back quiet so way through the rock but having deposited a fair bit of soil etc upon it’s retreat. It is now dry.

Follow the crack down & go up and into gallery…

Photo of Font de Gaume in the 1920’s

I love that ladder! Not at all like the modern day museum trappings of book shop, postcards & disgruntled ticket salespersons.

Go into the labyrinth to meet your monster…

Polychrome Partiel Art, late Magdalénien,

….. who is the crowning glory of late Prehistoric Cave Art (whoops, sorry we aren’t allowed to call it ‘art’ any more according to some archeologists 😉 It’s some 15 000 years on from the ‘western european creative explosion’ of Chauvet…

…isn’t he just the most finest of beasts!

History of Font de Gaume

Here’s what wikipedia has to say:

Prehistoric people living in the Dordogne Valley first settled in the mouth of Font de Gaume around 25,000 BC. The cave mouth was inhabited at least sporadically for the next several thousand years. However, after the original prehistoric inhabitants left, the cave was forgotten until the nineteenth century when local people again began to visit the cave.

In 1901, Denis Peyrony, a school teacher from Les Eyzies, discovered the paintings inside Font de Gaume. The paintings date from around 17000 BC, during the Magdalénien period. However, many of the cave’s paintings were discovered much later. The cave’s most famous painting, a frieze of five bison was discovered accidentally in 1966 while scientists were cleaning the cave.


Adam says : Little bit light about Perony. He was a great Perigordien scholar of Prehistory, as well as something of a classifer & conservatist. His survey of 1949 is generally taken to be the middle-of-the-century inventory of sites. No doubt he knew L’Abbé de Gorgue of le Chateau de Lanquais, who was another passionate Perigordien scholar of Prehistory, & a Baron as well. Remember this is the same generation as Lord Howard & the Tutankhamun discoveries in the 1920’s.



‘La Fontaine Guilliérè’

Carrying on with my review of rocks, cliffs & prehistory. Sorry it’s retrospective, but part of how I use this blog is to unfuddle my thinking. Here’s some paintings that I’ve never digitally recorded. Only got a few pre-digital camera badly exposed silver halide photos as records.

‘La Fontaine Guilliérè’
oil on canvas
86 x 48 cm
© The Artist.

‘La Fontaine Guilliérè’ # 7
ink & Watercolour.
39 x 23 cm
© The Artist.

‘La Fontaine Guilliérè’ # 4
ink & Watercolour.
40 x 30 cm
© The Artist.

‘La Fontaine Guilliérè’ # 9
ink & Watercolour.
42 x 21 cm
© The Artist.
By 2000, I’d figured out that you need to use smooth hot-pressed paper for pen & ink with a well-type nib. That’s if you want to dance, rather than make spider-webs.



Célé Valley Dreaming

‘Célé Valley Dreaming’
Ink & Watercolour.
23 x 33cm
hand made linen rag paper
© The Artist.
200 euros


Second Posting of Two : Marcilhac sur Célé – Pen & Ink – How to Draw Rocks, Cliffs … & Comets??? – Leonardo da Vinci – Stone Lithography – Mythological Images

PART ONE OF THIS TWO-PART POSTING – How to draw rock & cliffs

‘La Vallée de Célé depuis La Croix de Renard’
Ink & Pastel
© The Artist.
OK, just a little recap : in 1996, I was invited to do a month long residency in Marcilhac sur Célé in the Lot, France. To make editions of stone lithographs.I knew a little about printmaking. Etching, incision & silkscreen. But nothing about stone lithography. Done some zinc plate litho at university. So this residency was for me a steep learning curve about stone lithography as well. Stone lithography is a fairly complicated fine art print making technique, not to be confused with mechanised, commercial off-set lithography. The editions were large & the paper sizes big. Sometimes we worked through the night.

‘La Chasse Vegétarienne’
Stone Lithography
Full sheet BFK Rives 180 gms, 65 x 50 cm
Copyright – the artist
Edition sold out
But, me being something of a landscape artist (amongst other things), there was, first of all, the question of ‘oh my God! how do I make an image that lives up to those rocks & cliffs??’ I still feel that. Felt it again very strongly last week at Le Grand Roc, les Eyzies, Dordogne. Hence this review of ‘work related to rock & prehistory.’ Anyway, none of these images have been digitally recorded & nor properly catalogued.

‘Croix de Renard’ – Detail
Ink & Pastel
© The Artist.


Pen & Ink Drawing for Printmaking

Printmaking is wonderful for an artist’s drawing.

And because stone lithography is fundamentally ‘non correctable’, this medium demands a lot of ‘commitment’ in one’s drawing skills (helped my watercolour as well). Pen & ink is another fundamentally non-correctable medium. It is not by any accident that the one of Master artists of lithography , Toulouse Lautrec (another artist from South West of France), was also a master of pen & ink.


smudge & rub sanguine pastel drawing © adam cope

I however wasn’t a master of the Pen’n’Stink. Smudge’n’ Rub… My painterly (in the sense that the art historian Woëfflin intended, blurred ‘lost’ edges, sensual ‘sfumato’) urges at the time was to rub & to scratch & ‘rough it up’. Make a ‘bed’ from which the image, the passion could rise. Not quiet the same as correcting. A certain element of massage involved. I learnt life drawing using charcoal this way. Smudge’n’Rub.

But actually, to be honest & unrhetorical, a good part of this was pure panic. Panic in front of these cliffs & rocks. Panic akin to that which beginners often feel. That feeling of how do I do this??? It’s so difficult!!!

‘Falaise – Marcilhac sur Célé, Lot’ 1996
Ink & watercolour
25 x 32 cm – Papier fait à la main par Monsieur Duchêne
© Tous Droits Reservées
Only when he no longer knows what he is doing, does the painter make good paintings. – Degas
Two Tips for Pen & Ink Drawing:
1. Don’t use coarse paper. The rough terrain jogs the nib & makes it bleed. Smooth hot-pressed is best.
2. Don’t spill the ink (dedicate a small ‘ink well’ pot, rather than a large,aawkard ink bottle). Or if you do spill, try & make use of the ‘happy accident’. Or if you must, then it is even better to spill the ink deliberately. But are you sure to achieve a good result? Risk is risk.

‘Chateau des Anglais, Vallée du Célé’
Ink & Gouache
28 x 38 Vellum fait à la main par Monsieur Duchêne
Tous droits resvervées.

I carried on with my pen & ink campaign all winter long after the residency. My inability became my motivation, my friend & guide if you like. Nib’n’Squid. Sometimes, when you get a feeling for something, it’s good to follow it just to the very end. Or at least to a stage, when you can leave it alone for a bit.

‘Two Trees (Quercus Quercus)’ 1997
30 x 30 cm
Pen & ink
Copyright – the artist
email me to buy a limited edition giclee print of this artwork.


How to draw rocks & cliffs? How to paint them? How to artists prints of them?

‘Falaise aux Corbeaux’ (cliff face with crows)
© Tous Droits Reservées
rocks by leonardo on itheir side
Have you ever looked behind the Mona Lisa & seen those rocks? I’d seen that wild landscape at an impressionable age in the National gallery London, floating dreamlike behind St.Anne.
‘Study of a Tuscan Landscape – Val d’Arno’
Pen & Ink, nib on vellum
Approx 15 x 22 cm
Uffizi Museum

In the Célé, in 1996, I had Leonardo da Vinci’s pen & ink nib drawings in mind. You know the ones in the Windsor Leoni Volume? The pen & inks of geological stratus. As if the earth is moving. Only it’s embrassing to mention a genius in context of my feeble efforts.

‘Study of a Ravine in a Rocky Landscape’
Pen & Ink, nib on vellum
Approx 22 x 15 cm
Windsor Leoni Volume
Leonardo not only manages to give an impression of movement but his enormous powers of organising, understanding & simplifying manages to give his drawings an sense of order as well. Mine were all chaotic & wild. Little organised. There’s so much information, hard geography if you like, in the cliffs. Each blow hole, each crack…
‘Vertigo, Chateau des Anglais’ 1997
Stone Lithography
Full Sheet BFK RIVES 180 gms, 65 x 50 cm
Edition 0f 14
© Tous Droits Reservées

But I confess however, it was precisely the wild untamed nature of the rocks & cliffs that attracted me. Do we always have to do a ‘clean-up’ job on ‘untidy’ nature?

The limestone cliffs & rocks themselves, I felt, are the wierdest, wildest, craziest landscape. I can see in retrospect that it was ME projecting my fantasies into THEM. Or was it? Maybe, maybe. And in this, I am in keeping with the great master painters of Prehistoric Cave Paintings. Even Leonardo stared into mold on the walls & saw wild battles & who knows what else ! 🙂

But when other people stare into them, all they see is chaos that needs to be straightened out.


The Technique of Stone Lithography

In the technique of stone lithography, that the artist draws on the actual stone.. The stone itself is a very faultless, very compact form of limestone. To my knowledge, there’s only two really good quarries , one comes from under the Alps & the other from under the Himalayas. The weight of the mountains presses the stone to a seemless, faultless purity. The feel of the stone is so …. beautiful. The fine grain holds the grease in a way that makes even the smoothest, finest hot pressed paper course in comparison. If you look closely at the detail below, you can see something of the grain of the stone

‘6 Germinal’ – Detail
stone Lithography
© Tous Droits Reservées

So without going into ardious details, the stone ‘plate’ must be developed to hold the image. When the drawing (grease based)/developing (gum arabic)/etching (weak nitric acid) stages are complete, the stone must then washed out with water, it’s humidity maintained & then be inked up…….. The image appears out of the stone! I’d say akin to developing a photo but it’s much quicker than that. It’s with the ‘snap-stick-stick’ of the inked up leather rollers – whhah! behold, the image appears!

If you’d like to learn more about stone lithography in a hands-on way, I recommend you contact Felicity Roma Bowers, who runs stone lithography courses in Bath UK. She really knows stone lithography, has great print-making technique as well makes beautiful artwork herself & has taught widely in the Bath region. Good, sympathetic, qualified teaching there.


Back to the Valley…

All month long the comet HYAKUTAKE hung overhead in the night sky. It was the brightest comet I’d ever seen. Up above the valley. Just sitting there. Night after night. What did it mean?

‘The Valley & The Comet’ 1996
Stone Lithograph
Artists-proof, image non-editioned.
© Tous Droits Reservées

Things started taking on a mythical bent in my mind’s eye. It was the Vernal Equinox. Fossils & faces appearing out of the stone. It wasn’t scary. It wasn’t drug induced. It felt good. Inspiration. The cliffs themselves are reminders that there are other time-scales other than the tic-toc time of ‘seven score years & ten’. By the 22 of march,1996, Hyakutake attained mag 2 when it entered SE Bootes.


‘Hyakutake’ March 22 1996
Stone Lithography
Full Sheet BFK RIVES 180 gms, 65 x 50 cm
Edition 0f 50
© Tous Droits Reservées
150 euros or equivalent in US dollars or GBP sterling
email me to buy a print via Paypal
L’ancien se meurt, le nouveau ne parvient pas à voir le jour, dans ce clair-obscur surgissent les monstres – Gramsci ( ‘ The old is dying & the new has not yet seen the light of day. in the twilight monsters are rearing’ Gramsci)
The next image I editioned was ‘6 Germinal’ , the name of the day when it was made – according to French Revolutionary Calendar. The vernal equinox had passed & spring was making itself felt.

‘6 Germinal’
Stone Lithography
Full Sheet BFK RIVES 180 gms, 65 x 50 cm
Edition 0f 50
© Tous Droits Reservées
150 euros or equivalent in US dollars or GBP sterling
email me to buy a print via Paypal

Some thoughts about ‘Mythological Images’ & Prehistory ….

The meaning of things aren’t stable. Anything can mean almost anything – Jasper Johns

Looking back at the images, especially those with a mythical bent, part of me feels that problem with them is that, in fact, they are not mythological enough. Mythological in the sense that great stories, great images speak to great numbers of people. These artworks don’t (They remain ‘artworks’ but not comfortable enough to hang alongside a Thomas Kincaid). Like all the churning of the bucket of the unconscious by many artists such as Max Ernst or Karel Appel or early Jackson Pollock. These artworks aren’t enough either. Aren’t powerful enough to move great numbers of people (why does Thomas Kincaid move great numbers of people? It must be something to do with comfort?).

Images such as advertising campaigns (yes we live in beautiful times of great luxury), swastiskas (cruel times too) or atomic mushroom clouds are strong enough images to move many. They can motivate & they do motivate. (though I was surprised to see years later that the seed- in-a-fountain motif that I used ‘HYAKUTAKE’ re-emerged in the logo for ‘Sport for All’ UK & the single leaf motif that I used in ‘6 GERMINAL’ again as logo for the Front Nationale, France albeit it’s an oak leaf).

For me, the hand print on the wall of Painted Prehistoric Cave at Pech-Merle in the Valley of the Célé, is a great image of our past. Both as humans & as artists. There is hope in these images. Whatever they meant to the artists &/or shamans (?) of Prehistory that made this image ….

(we don’t even know if these particular underground images were meant for ‘mass’ consumption by all the tribe. Personally I doubt it, or else more traces, foot prints, prehistoric litter and the such, would have been left on the cave floors etc. Maybe we will never know the answer to this. Much of the evidence has disappeared. Lascaux, for example, was trampled underfoot & opened to the public, before a ‘complete closure’ type of conservation & archeological expertise was the norm, as is now the case)

……they now mean something else to us in the twenty-first century. They are iconic of our beginnings.

‘Negative Hand Print & 13 points’
Gravettian Period
hand size is that of an adult
Red iron oxide on cave wall, situated about 500 metres from orginal entrance to cave (if I remember rightly). Blown technique.
Grotte de Peche-Merle, Vallée du Célé, Lot, France

Read more of my musings about Prehistoric Cave Art  in the prehistory category of this blog

Further reading:

Prehistoric Art: The Symbolic Journey of Humankind – Randall White,  ISBN-10: 0810942623

The Mind in the Cave: Consciousness and the Origins of Art – David Lewis-Williams, ISBN-10: 0500284652

Cave Art – Jean Clottes, ISBN-10: 0714857238

First Posting of Two Posts

part two, second post  – Leonardo dea Vinci’s drawings of rocks

‘Postcard from Marcilhac sur Célé’ 1996
15 x 10 cm
Stone Lithography
© The Artist.
Edition sold out.

My Personal Experience of an Artist’ s Residency

In 1996, I won an artist-in-residency to make limited editions of stone lithographs at a print-making studio.  Basically, this association has it’s aims to promote stone lithography & encourage artistic talent. So it chose six artists and invited them for a month long stay & make editions of stone lithography. It was a great experience. A residency (or a painting workshop) should make you work in a different & fresh way. Open one’s ‘artist-self’ up to learning. Re- envigorating. Creating in a new context, with the pleasure of meeting new people. I certainly meet some wonderful people …  great technicians too 🙂

‘Journey of an Egg through the Célé Valley in 31 Days’ 1996

I did some  printmaking at Bristol Printmakers Workshop. Printmaking is my second medium after painting. It was my second subject for my BA hons in 1987. I later taught it for two years at Adult Ed…. though it has now been nine years since I last had a ‘printmaking campaign’. I can feel it calling again. Besides my computer, I have an old copper plate that I care for very much.

 ‘Célé Valley’
13 x18 cm
artists proof
© The Artist.
‘Marcilhac sur Célé’ 1996
32 x 25 cm
Ink, papier Moulin Larroque
© The Artist.
email for price etc.

Marcilhac sur Célé for an artists residency

Marcilhac sur Célé is a wild crazy type of place at the bottom of a three metre limestone cliff. Limestone rock & chaos. It was winter time. It was crazy. Wild landscape. Prehistoric. Staring at rocks & cliffs… same type of problem that I was grappling with last week in the painting Grand Roc, Les Eyzies, Dordogne. Without making any claims to be a geologist, except to say that drawing & painting rocks & cliffs faces makes you stare at them for hours on end… sometimes I imagine maybe sheep sheperds & prehistoric shamans did this also. Certainly fascinating to chat to speleologues & palentologists about earth formations.

‘Les Anglais, Brenques’ 1996
Ink, papier Moulin Larroque
© The Artist.

how to draw rocks & cliffs?

But the question for me as  an artist is how to draw rocks & cliffs? How to paint them? How to printmake images from them?
They have a kind of shock, a resonance, a dsibelief in me….
It was strange to be drawing stone & then, afterwards working on the same family of stone (calcium carbonate, if I remember the chemistry correctly) in the printmaking process. The stone ‘plates’ are very beautiful things in themselves.
‘Croix de Renard, falaise en Quercy’ 1996
© The Artist.

The chalk in the Célé Valley (lot) is more stratfied & ‘crazed’ than the Vézère Valley (Les Eyzies is in the Dordogne), where it seems more compact, older(?). The Céle has more ‘blow holes’ or ‘trous du soufflure’ where air was trapped in the sedimentation process but the Vézère has more erosion from the river over the ages. Both are incredible places.I wanted these drawings to be as precise as possibile so you could use them as rock-climbing maps. Only find & keep those ‘anchor’ points!! Hold on to them as this isn’t an easy subject. Doesn’t conform to clasical landscape painting. Has many suprises….and are easily dismissed by those who do not know what cliff faces really look like.

‘Falaise, Célé Valley, Lot’
28 x 38 cm
ink, papier Moulin Larroque
© The Artist.
Cliff face, Célé Valley, Lot’
ink & gouache, papier Moulin Larroque
© The Artist.


In the next posting, I’ll photograph the other editions & drawings, there’s a whole stack of them